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The American soprano, Coeli Ingold, was a recipient of the Reinberger Scholarship in Music, and earned the Bachelor of Music Degree from the Cleveland Institute of Music, where she studied opera with Andrew Foldi of the Metropolitan Opera. Among her teacher there was also Irvin Bushman. She also holds a graduate degree in performance practices of early music from Case Western Reserve University, where she studied with renown soprano Julianne Baird. She has participated in several master-classes with international artists, including Emma Kirkby, Colin Tilney, Malcom Bilsom, Andrea von Ramm, and Suzie LeBlanc, and was also coached ny Gareth Morrell, Robert Page, Jacek Sobieski.
Coeli Ingold known for her appearances in recital, oratorio, contemporary music, as soloist with orchestra, and, most recently, in opera. She has been critically acclaimed for her interpretations of Baroque and Classical repertoire, as well as for her "exquisitely polished performances" and "immaculate technique" (New Jersey Courier-Post). Highly regarded for her performances of bravura George Frideric Handel arias and W.A. Mozart coloratura roles, she combines vocal prowess with an alluring stage presence that has been described as “engaging,” “enchanting," and even "daring" (Cleveland Plain Dealer).
A favorite with Northeast Ohio audiences, Coeli Ingold has also concertized throughout the Midwest, and in France and Switzerland. During the past several years, she appeared regularly in concerts with The Cleveland Camerata, an ensemble she established in 1991 to promote the performance of rarely heard Baroque vocal chamber works. She also concertized with the lutesong repertoire of 17th-century England, Italy, and France. Concert credits include appearances with the Early Interval of Columbus, the Baldwin-Wallace College Bach Festival, the Ganassi Ensemble, Apollo’s Fire Baroque Orchestra, the Bach and Handel Society (Cleveland), the Case Western Baroque Orchestra, The Rutgers Atheneum for Early Music, the Cleveland Composer's Guild, The Cleveland Orchestra pre-concert lectures, The Cleveland Museum of Art, the Cornell University Contemporary Series, and the Cathedral of St. Sulpice in Paris, France.
During the 1990's Coeli Ingold's work with The Cleveland Camerata earned her immediate visibility as one of early music's emerging talents. Comprising voice, flauto traverso, violin, and continuo, the ensemble was the first of its kind in the vicinity, and was instantly praised by press and audience alike for its "refreshing and unstuffy approach" to early music” (Robert Finn, Cleveland Plain Dealer). Cleveland Camerata, excelling in the French cantata repertoire and songs of Purcell, presents concerts with such intriguing themes as “The Pleasures of the Countryside” (music from the French Courts), “A Baroque Valentine”, “The Annual Great Baroque Christmas Escape”, “The Lady Abandoned” (a program of tragic Baroque heroines), and “The Charms of Love” (music of English court and theatre).
Also in demand as soloist with orchestra, Coeli Ingold appears frequently in a wide selection of oratorios, concert arias and orchestral works. She has sung G.F. Handel's Messiah, and Haydn's Creation (Gabriel and Eve) under numerous batons. Rounding out her orchestral repertoire are Antonio Vivaldi's Gloria, J.S. Bach's Christmas Oratorio (BWV 248), as well as Camille Saint-Saëns’ Christmas Oratorio, and the Requiems of both W.A. Mozart and Gabriel Fauré. In 1996, she appeared as Solomon's Queen in G.F. Handel's Solomon, along with musicians from the Ohio Chamber Orchestra. Other works with chamber orchestra have included J.S. Bach's Cantata BWV 51: Jauchzett Gott, W.A. Mozart's Exsultate Jubilate, his coloratura aria Vorrei Spiegarvi oh Dio, and Giovanni Battista Pergolesi's Stabat Mater. Equally adept at contemporary music, Ingold was soloist in the world premiere performance of The Conversion of St. Paul, a cantata for mixed chorus and organ written specifically for her voice by Christopher Morgan Loy.
Coeli Ingold made an auspicious operatic debut as Nedda in I Pagliacci. After bowing to a standing ovation, she was lauded by the press for bringing "shimmering vocal qualities to Nedda's aria" and for her trills in the first act aria, "which elude most exponents of the role" (Donald Rosenberg, Cleveland Plain Dealer). Later in the season she portrayed the spunky maid servant Blondchen in W.A. Mozart's Die Entführung aus dem Serail and "sounded right at home in W.A. Mozart's coloratura arias and high-flying pitch range. She blossomed beautifully as a comic opera soubrette" (Wilma Salisbury, Plain Dealer). She has also sung Gretel in Engelbert Humperdinck's Hansel and Gretel, Belinda in Purcell's Dido and Aeneas, Nympha in Monteverdi's Orfeo, and Lisa in Bellini's La Sonnambula.
Coeli Ingold maintains an active singing career in her hometown where she is currently seen and heard regularly at The Cathedral of St. John the Evangelist. She has appeared as soloist on several compact discs, including recordings of W.A. Mozart’s Laudate Dominum, and G.F. Handel’s Rejoice Greatly and If God be for us for St. John’s Cathedral.
Recent appearances (2002-2003) include performances of Schubert’s Der Hirt auf dem Felsen and Spohr’s Ich bin allein with The Venner Ensemble, W.A. Mozart’s Requiem for the National Tragedy Events (Rollingrequiem), participation in the Unity Day Celebration for Cleveland Mayor Jane Campbell, several house concerts, and oratorio appearances.
Currently, Coeli Ingold is on the voice faculty of The Cleveland Music School Settlement, where she also directs the Madrigal Singers. |
